Michael Landes

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After the tragic loss of their daughter, Dana and David move with their son to a new home in a bid to have a fresh start. The house is big and beautiful and in a fantastic rural location but it's run down and has obviously been neglected for years before they owned it.

Though the house needs much restoration work the family decide to move in.

As they all settle down, Diana loves her new house but feels a dark and intriguing presence that draws her to explore every corner of the new property. As Diana begins to investigate the building she goes up into the attic and discovers a locked door. Finally finding a key to the lost room, Diana opens it and unleashes a spirit that's been forcefully held behind the locked door. What Diana comes to learn is that the house was formerly owned by a cruel judge who locked away his daughter in the disappointment room.

Gold is more than a valuable commodity for Kenny Wells, to him it's an obsession. The year is 1988 and Wells lives in Reno with his partner, Kay. The balding, fast-aging man is constantly down on his luck and often resorts to pawning his partner's possessions just to get hold of a little money.

The wannabe businessman attempts to start many new ventures but constantly finds himself being turned away. One day Wells awakes from his slumber and recalls a vivid dream telling him to go find Gold in unchartered territory. Kenny has little knowledge of how to make it work but knows that this is the big break he's been waiting for.

Teaming up with geologist Michael Acosta, Wells tells Acosta about the land he feels is rich with unmined gold reserves in Indonesia. Talking Acosta into the project, they begin their ambitious dig with basic supplies and minimal investment. As their workers begin to see that their efforts are not garnering any results they begin to leave and everything looks like it's going against the Americans.

'The Princess Bride' actress Robin Wright plays a fictional idea of herself, as someone struggling to land acting roles despite her immense fame decades ago. In the movie, her son is suffering from increasing blindness for which she needs to raise many to help. Her agent has one last idea; seeing as she can no longer land movie roles, Miramount Studios want to scan her whole body, emotions, voice and personality to be used in digital imagery for future films so she no longer has to act. Desperate, she accepts the deal; allowing the studio to take ownership of her and accepting the money they pay her for it. Years later, however, she has become a major movie star once again and now Miramount want to showcase their new avatar programme at the Futurological Congress, whereby buyers can turn themselves into animated versions of anyone - and Miramount wants Robin to let people become her. As her life progresses, she starts to wonder just where the reality has gone in this virtual world.

This intriguing half-animated sci-fi drama explores themes of virtual reality and the limitlessness of human endeavour in the technological era. It has been directed and written by Ari Folman ('Waltz with Bashir', 'Made in Israel', 'Saint Clara') and is based on the novel 'The Futurological Congress' by Stanislaw Lem. 'The Congress' is due for UK release on August 15th 2014.

For all of you budding screenwriters, here is a simple set of guidelines to help you pen the next Final Destination film (yes, there will probably be another, even if it's direct-to-video): First, devise really hideous, graphic ways for people to die -- five or six deaths should do it. Second, tie the gruesomeness together by having paper-thin characters explain the plot -- the grim reaper gives chase to those who've cheated death -- over and over again. Lastly, keep the dialogue simple and void of any entertaining qualities, relying on devices like flipping the bird for big laughs.

That, in summary, is all of Final Destination 2, the generally bland follow-up to the far more likable original from 2000. Here, instead of a clairvoyant teenage boy having visions of a plane explosion, there's an equally clairvoyant teenage girl getting a premonitory look at a massive highway pileup. Director (and former stunt expert) David R. Ellis (Homeward Bound II), and first-time screenwriters J. Mackye Gruber and Eric Bress really don't get much more creative than that, instead leaning on the concept of the original to get them through.

Aside from inventing absurdly elaborate and gory new ways of doing in the victims of its unseen supernatural menace, "Final Destination 2" is just another 100 minutes of proof that the people who make horror movies couldn't care less about acting ability, dialogue or common sense.

A sequel to a modest hit from 2000 about Death mercilessly stalking a handful of high schoolers who escaped a plane crash that was supposed to kill them, the flick burns what feels like 10 boring introductory minutes by following several unidentified, unrelated drivers as they unknowingly barreling toward a fiery pileup on a freeway somewhere.

The carnage is played out in its entirety before it's revealed that the whole thing was a premonition. Kimberly (A.J. Cook), the picture's generic brunette cutie-pie heroine, envisions the bloodbath, then deliberately blocks an on-ramp in a panic, thus saving the lives of the half dozen people that director David R. Ellis had just featured in her vision being splattered, decapitated and burned alive.